Navigation Bar - Text Links at Bottom of Page

DISTURBING BEHAVIOR

About The Production
Jon Shestack and Scott Rosenberg had been wanting to work together for many years and "This," says Shestack, "was the right thing

Jon Shestack and Scott Rosenberg had been wanting to work together for many years and "This," says Shestack, "was the right thing."

"This story was conceived at the tail-end of the Bush administration," Shestack explains. "The national rhetoric was ridiculous...Prozac was topping the charts and Ritalyn was running a close second. What's both touching and frustrating about interacting with teenagers is that they feel things very directly - they don't have much of a filter and sometimes not much perspective. Disturbing Behavior takes the Ritalyn generation to the next level, and in this case the teenagers have a very good and legitimate reason to be paranoid about what their parents are planning for them."

Shestack and Armyan Bernstein had a director in mind whose career has included some of the most compelling and cinematic television that had ever aired. "David Nutter really carved his own niche with his work on shows like The X-Files and Millennium," Bernstein notes. "He was in a position to do any project he wanted and we were really lucky that he wanted to do this."

"I've read a lot of horror movies lately, but what made this one so terrifying is that it's not so far out there that you can't touch it and be affected by it," Nutter says. "It was very important to me to make a film that has enough dimension that people can see themselves in it. Not just teenagers, but also parents as well."

Production began on January 19 and shot for three months on location in Vancouver, B.C., a popular filming locale known for its rich environmental diversity. "Vancouver is the place where you can make this much money look like a lot more," Nutter says. "It was very important to come to Vancouver and find people that wanted to do something very special."

Nutter brought director of photography John S. Bartley, who previously worked with Nutter on The X-Files and created that series' trademark moody cinematography. Bartley relished the opportunity to create a whole new look for Disturbing Behavior's Cradle Bay. "The key idea for this film is plausibility," says Bartley, "so there can't be any far-fetched lighting -- nothing that calls attention to itself. We also wanted to give this film a very high contrast look to provide a feeling of heightened tension between the surface presentation of Cradle Bay, where we've used a lot of saturated colors like the blue and yellow of the Blue Ribbon Club's jackets, and Caldicott's underground laboratory, which is very dark and where there is an obvious absence of color."

Production Designer Nelson Coates echoes David Nutter's commitment to grounding the bizarre and macabre elements of the story in a very naturalistic setting. "I'm constantly trying to work common everyday things into the design, things that I tweak a little so the overall effect is a plausible kind of warp," he explains. "Ultimately, this is a cautionary tale, so it's important that the audience have something invested in it."

"As a teenager your clothing is very much a uniform of belonging," says costume designer Trish Keating. "In order to emphasize the opposing camps within the school, we took the costume elements to extremes so we could place Steve, our protagonist, somewhere in the middle."

For the Yogurt Shoppe where the school's "Blue Ribbons" hang out, Coates designed t

TOP

Home | Theaters | Video | TV

Your Comments and Suggestions are Always Welcome.
Contact CinemaReview.com

2014 22,  All Rights Reserved.

Google

Find:  HELP!

Google